Wednesday, October 21, 2015

Somehow, I've gotten terribly behind with the blog, so I have to double up a bit in this post. I want to briefly discuss two new releases and one that's available outside of theaters. What all three films have in common is a certain "scare" factor.

First, Ridley Scott's The Martian, which focuses on the triple fears of isolation, abandonment, and impending doom. Based on Andy Weir's captivating 2011 novel of the same name, Scott assembles a star-studded cast (Jeff Daniels, Jessica Chastain, Kristen Wiig, Michael Pena, and Chiwetel Ejiofor, among others) to tell the story of Mark Watney, an American astronaut who gets left behind when a Mars mission goes terribly wrong. I think Matt Damon captures Watney's wry wit - there's a bit about Watney being a "space pirate" that's laugh-out-loud funny, for example. However, the film cuts out a good deal of the problem-solving that made the novel so compelling and, in a few places, just gets things flat-out wrong. (No, you can't use a teensy hole in your spacesuit to guide you toward your rescue ship, mostly because you'd have a bad case of the deads.) Weir likes science - in fact, he claims science makes a wonderful plot device - and it's a bit of a shame to see that serious thinking watered-down to a basic thrills-and-adventure plot. Nevertheless, I enjoyed the film and would love to see it spark interest in manned space missions again. Seriously, why don't we have a moon base yet?

Second, Steven Spielberg's Bridge of Spies, which deals with the fear of trickery, war, and back-door deals. Okay, look - you pretty much can't go wrong with the combination of Tom Hanks, Spielberg, and American can-do attitude. In addition to working with Hanks on a number of other projects as producer, Spielberg has directed Hanks in Saving Private Ryan (where we also had to rescue Matt Damon - between that and Interstellar, Damon ought to just stay home by the fire), Catch Me If You Can, and The Terminal. Here, Hanks is in full Jimmy Stewart mode and by that, I mean he's playing a solid, honest, decent man (James Donovan) who is convinced that the rule of law will lead to the light. When called upon to defend a Soviet national accused of espionage at the height of the Cold War, he takes the unwelcome assignment (he's an insurance attorney, not a high-powered government lawyer, which is an interesting story in itself) because he truly believes that the Constitution's guarantee of a competent defense is a cornerstone of our legal system. (He's right, by the way.) His client is guilty as original sin, but Donovan's arguments spare his client the death penalty. A few years later, the pilot of one of our super-duper-top-secret U2 spy planes is shot down and Donovan is called into service to arrange for a prisoner exchange. Bridge of Spies is a compelling movie and it's at its absolute best detailing Donovan's tense days in Berlin arranging the spy swap at the very time the Berlin Wall is going up. Sure, the film takes a few liberties with the story (and there's far too little smoking for the time period!), but an amazing film and one well worth seeing in these cynical times.

Lastly, the 2014 Australian horror-thriller The Babadook. I can't say much about this without worrying about giving something important away, so I'll be brief. This film, the first major release by Jennifer Kent, scared the bejeezus out of me. There's a bit of gore, but it's mostly "head scare" and reality gets very, very warped in the hour and a half run time. One thing this film does masterfully is set you off-kilter. My allegiances changed as I started the film sympathizing with one character and found myself moving to viewing that character as the Evil of the film. What's real? What's the mind capable of believing? And how much can untreated traumas manifest in our world? The Babadook is a film that made me cringe, jump, and actually think - and many others agree with me. Don't miss this one.

Right now, I'm a little over halfway through my super-fast summer film class. Personally, I would prefer a slower-paced class spread o...

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K. Dale Koontz

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Who?

K. Dale Koontz may have watched too much television as a child. She learned to count via Sesame Street and first learned that genres could cross-pollinate through M*A*S*H. When she discovered Joss Whedon's Buffy the Vampire Slayer, the die was cast. In 2008, McFarland published her book Faith and Choice in the Work of Joss Whedon which focused on themes such as redemption, choice, and consequences in Whedon's work up to that point. (She's fairly sure Volume 2 could be written to include Dr. Horrible, Dollhouse, and The Avengers.) She is a founding member of the Whedon Studies Association (a great group of people, but don't mention Twilight. Just sayin'). She has presented original work on the Rossum Corporation in Dollhouse, Kitty Pryde, and Japanese anime. In 2014, she and co-author Ensley F. Guffey worked with ECW Press to publish the critically-acclaimed Wanna Cook? The Complete, Unofficial Companion to Breaking Bad. Her most recent project was to team again with Ensley and ECW to publish A Dream Given Form, which is the only guide to all the canonical works in the Babylon 5 universe. That book is currently available for preorder and will be released in September of 2017. Dale is available for speaking engagements and only occasionally uses puppets in her presentations.

What?

I have long been interested in storytelling - how we do it, why we do it, and what happens when we mix things up. This interest might be the result of being born and raised in the American South, a region that has long celebrated the involved story over the quick answer. Television - the good stuff, anyway - does this brilliantly. Far from being film's red-headed tacky cousin, good TV lets characters and relationships build slowly and often mixes up genres, so horror is next door to humor and fantasy rubs shoulders with procedurals. This blog focuses on both the "good stuff" being broadcast that catches my fancy (with a special emphasis on Babylon 5, since that's the book that's in the process of being written right now) as well as film. The films are usually new releases being watched for TV19's weekly Meet Me at the Movies, although I reserve the right to veer off into classics and under-appreciated gems as well. Older posts cover what my introduction to film class was up to - currently, I'm not teaching that course, but who knows what the future may hold.